A 1970s Chinese Communist Socialist-Realist original pencil drawing of a worker

Description

A young man wearing worker’s overalls and a cap stands holding a spade, looking out to the right of the viewer and smiling. Stranding proudly upright, he is happy in his work. The Western style of his piece, particularly the folds of his clothes and his stance, owe much to Soviet Socialist Realist art. Signed in Chinese by the artist at the bottom right, and possibly dated ’73’ for 1973.

Paper 39.5cm high, 27.5cm wide

Art in Revolutionary China
As early as 1942, Chairman Mao Zedong’s ‘Talks on Literature and Art’ ordered that arts were to “serve the people” and, for at least the next four decades, the Chinese Communist Party and Maoist ideology totally controlled the arts. As such, art had to educate the population and celebrate and illustrate the ideals of Communism. Art became almost entirely figural and idealised, showing happy, healthy and industrious workers and soldiers going about their work, crowds enthusiastically supporting Mao, and bountiful crops and industries. All were idealised illustrations of the wealth and successes of Communist China, and ‘enforced’ celebrations of the emancipation of the proletariat.
Not only did this art differ greatly from what was produced in Imperial China for centuries in terms of theme, but it also differed in terms of style. This change of direction required education and re-education, and many art students and established artists were sent to the Soviet Union, or Eastern Bloc countries, to learn how to draw in a Soviet-Realist manner. Some Soviet artists were also brought to China to train artists in the ‘new’ style at educational institutions. Even after relations between China and the Soviet Union cooled in the late 1950s, and the death of Mao in 1976, the style continued to be the only way forward for a comfortable life as an artist. The period also saw a boom in the production of colourful, stylised posters in this new style, which were an affordable way of displaying and disseminating the art and its message across the country. This original drawing from the 1960s or ‘70s is part of that movement in the history of art - a fascinating, powerful and visual snapshot of the time.

Condition
Top corners lightly glued down to a mountboard. Some brown stains (possibly fingerprints) at the bottom and one at the top left corner that could be covered by a mount when framed - see the first image. The second image shows the piece on he mountboard. 

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